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New perspectives: Transcriptions for...

Hodges, Nicholas John.

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New perspectives: Transcriptions for the viola.

Record Type:	Electronic resources : Monograph/item
Title/Author:	New perspectives: Transcriptions for the viola./
Author:	Hodges, Nicholas John.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
Description:	48 p.
Notes:	Source: Dissertation Abstracts International, Volume: 77-10(E), Section: A.
Contained By:	Dissertation Abstracts International77-10A(E).
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10128591
ISBN:	9781339865928

New perspectives: Transcriptions for the viola.
Hodges, Nicholas John.

New perspectives: Transcriptions for the viola. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 48 p.

Source: Dissertation Abstracts International, Volume: 77-10(E), Section: A.

Thesis (D.M.A.)--University of Maryland, College Park, 2016.

One must only glance upon Franz Zeyringer's 400-page, exhaustive Literatur fur Viola to understand the error of the familiar but casual criticism of the paucity of the viola catalogue. Examining Zeyringer's resource, however, we find a trend: while the viola repertoire contains many pieces (over 14,000 works) and does lay claim to many masterworks (Bartok's Viola Concerto, Hindemith's Sonatas, Mozart's Sinfonia Concertante, etc.), many of the pieces originally written for the instrument are not widely recognized compositions and not often considered outstanding achievements. The violist, much like the double-bassist, bassoonist, and hornist, faces a certain challenge when selecting repertoire for a recital: a lack of large, important works that both fit the instrument and challenge the recitalist.

ISBN: 9781339865928Subjects--Topical Terms:

516178
Music.

New perspectives: Transcriptions for the viola.
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500 $a Source: Dissertation Abstracts International, Volume: 77-10(E), Section: A.
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500 $a Adviser: James Stern.
502 $a Thesis (D.M.A.)--University of Maryland, College Park, 2016.
520 $a One must only glance upon Franz Zeyringer's 400-page, exhaustive Literatur fur Viola to understand the error of the familiar but casual criticism of the paucity of the viola catalogue. Examining Zeyringer's resource, however, we find a trend: while the viola repertoire contains many pieces (over 14,000 works) and does lay claim to many masterworks (Bartok's Viola Concerto, Hindemith's Sonatas, Mozart's Sinfonia Concertante, etc.), many of the pieces originally written for the instrument are not widely recognized compositions and not often considered outstanding achievements. The violist, much like the double-bassist, bassoonist, and hornist, faces a certain challenge when selecting repertoire for a recital: a lack of large, important works that both fit the instrument and challenge the recitalist.
520 $a This project will aim to expand recital repertoire for the viola through the development of new transcriptions, using the previously transcribed Fantasy Pieces by Schumann (trans. Leonard Davis) and Sonata No. 2 in E-flat, Op. 120 by Brahms (trans. Brahms) as an inspiration and guide. As a result, the catalogue of viola repertoire will not only be increased but the difference in tone and depth of the instrument may unveil previously unnoticed perspectives on the works. With a primary aim to expand the literature of the viola through the development of new transcriptions, this project will also strive to offer new, previously unnoticed perspectives on preexisting works. Through the changing of the instrumentation, listeners and performers will have the opportunity to explore the character of the compositions in a fresh and possibly illuminating way. Perhaps this project will encourage previously unexplored transcriptions to be realized and performed. While the recital repertoire for the viola boasts many and great works, the original transcriptions of this project attempt to infuse the collection with new and interesting possibilities for both study and performance.
520 $a This dissertation project is comprised of three recitals featuring works transcribed for viola and, in most cases, newly transcribed by myself. All events took place on the campus of University of Maryland, College Park: Recital #1 on November 9, 2014 in the Gildenhorn Recital Hall of the Clarice Smith Performing Arts Center; Recital #2 on May 9, 2015, in Ulrich Recital Hall; and Recital #3 on November 6, 2015, in the Gildenhorn Recital Hall.
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